I took my niece this year and it was her first Coachella. It was so fun to see it through her eyes. She thought it felt like a magical scene from Shreck. The one where all the fairy tale creatures meet for the first time in Shreck's swamp.

[–]Alex512 2300
Everyone puts a lot of focus on Ezra's lyrics, dissecting them and asking for the meaning behind them. But I need to know what Chris T is saying on these songs.
Chris T, on "Run" you drum "Boom bap bap boom bap bap, tom-ta-ta-tom-ta-ta-tom." Is this an allusion to your childhood? Some have said it's a comment on American consumerism, but I frankly don't see it.
Love your stuff, guys. Thanks for everything.

[–]vampire-weekend[S]
Hi Alex512, great question. You're close. What I'm trying to communicate in "Run" is actually a continuation of my investigation of Elizabethan British economic infrastructure that I began on "Oxford Comma" on the first record. I know the subject matter is a litte arcane, but sometimes by focusing on smaller details we can actually see the bigger picture

Re: The Pitchfork News/reviews thread

I guess it's more that they're participating in a media frenzy over that album which regards it not just as a good, well produced album but as an antidote to a pop music landscape that is littered with internet sensations and quick fixes but no enduring, prolonged statement of purpose. It's hardly the most egregious review or score they've given, but it adds to what I consider really inexplicable universal praise. On Metacritic, the lowest scores are at 60. Even if you do enjoy the album, I can't imagine seeing it as this landmark release that's really striking new ground and changing the tides of pop music. At best, it's a loving homage to a certain kind of album that doesn't really build upon or add anything new to the equation.

The BoC album could definitely be seen in a similar light as being a tribute to electronic horror film scores of the late 70s, but they've integrated their own sound into that context masterfully. I don't think it's a landmark release really either, but it's a refinement of their sound that results in one of their strongest, most coherent albums.

Re: The Pitchfork News/reviews thread

That seems fair.

To me (someone who likes the Daft Punk album) the more egregious Pitchfork sin was their ridiculous cover story for Daft Punk, which pretty obviously crossed the line from critical advocacy into straight-up commercial promotion.

Re: The Pitchfork News/reviews thread

Originally Posted by Miroir Noir

To me (someone who likes the Daft Punk album) the more egregious Pitchfork sin was their ridiculous cover story for Daft Punk, which pretty obviously crossed the line from critical advocacy into straight-up commercial promotion.

If the DP cover story was commercial promotion, would you say that the objective behind the cover stories for Ariel Pink, Savages, etc. differed in any sense?